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Chapters Two, Three and Four are devoted to each of Bronsart's three extant operas. Because little is known about Bronsart's music, in order to obtain a better understanding of her style a substantial portion of my discussion concentrates on the musical analysis and dramatic interpretation of each opera. The thesis concludes with an exploration of broader historiographical issues of reception, gender, genre and aesthetic value, laying the foundation for a renewed interest in this unique composer and her works. Mus., The University of Manitoba, 1994 A THESIS SUBMITTED I N PARTIAL F U L F I L L M E N T O F THE REQUIREMENTS FORTHE D E G R E E OF DOCTOR OF PHILOSOPHY In T H E F A C U L T Y O F G R A D U A T E STUDIES We accept this thesis as conforming T H E UNIVERSITY O F BRITISH C O L U M B I A April 2002 © Melinda Jean Boyd, 2002 UBC Special Collections - Thesis Authorisation Form p r e s e n t i n g t h i s t h e s i s i n p a r t i a l f u l f i l m e n t o f t h e requirements f o r an advanced degree a t t h e U n i v e r s i t y o f B r i t i s h Columbia, I a g r e e t h a t t h e L i b r a r y s h a l l make i t f r e e l y a v a i l a b l e f o r r e f e r e n c e and s t u d y . OPERA, OR T H E D O I N G OF W O M E N : T H E D R A M A T I C W O R K S O F I N G E B O R G V O N B R O N S A R T (1840-1913) By MELINDA JEAN BOYD M . I f u r t h e r a g r e e t h a t p e r m i s s i o n f o r e x t e n s i v e c o p y i n g o f t h i s t h e s i s f o r s c h o l a r l y p u r p o s e s may be g r a n t e d b y t h e h e a d o f my department o r by h i s o r h e r r e p r e s e n t a t i v e s . The Beauty and the Hag: Female Figures of Germanic Faith and Myth.
Department o f / / / (J^ The U n i v e r s i t y o f B r i t i s h V a n c o u v e r , Canada 1 of 1 Columbia 4/11/2002 P M ABSTRACT In the early 1890s, Ingeborg von Bronsart (1840-1913) was hailed by the German musical press as the "first lady" of the German stage. She is moved by Jery's efforts to protect her, perhaps even out of pity to see him now that he is injured, humiliated and emasculated. The denouement takes place in the "Duett und Quartett" (No. In the early 1890s, Ingeborg von Bronsart (1840-1913) was hailed by the German musical press as the "first lady" of the German stage. Women in Music: An Anthology of Source Readingsfrom the Middle Ages to the Present. Her first two extant dramatic works —Jery und Bately (Singspiel, 1873) and Hiarne (grosse Oper, 1891) — had captivated audiences and were met with enthusiasm from critics.
ii T A B L E OF C O N T E N T S Abstract ii Table of Contents iii List of Tables iv List of Figures v Acknowledgement vii INTRODUCTION 1 Chapter One Composing a Life Chapter Two Singspiel in the Age of Wagner: Jery und Bdte/y (1873) Chapter Three 6 29 Riding the Valkyrie: (En)Countering Wagner in Hiarne (1891) Chapter Four The Tragic Case of Die Siihne (1909) Chapter Five Gender, Genre, Value: Toward New Horizons of Expectations 102 244 320 Bibliography 335 Appendix 347 iii LIST OF TABLES Table 2.1 Table 3.1 Settings of Jery und Bately, compiled from Franz Stieger, Opernlexicon, Titelkatalog Bd. Figure 2.6 Outline of Thomas's Lied " E i n Madchen und ein Glaschen 34 35 36 38 44 Wein" (No. 54 Figure 2.7 Outline of Bately, "Es rauschet das Wasser" (No. 59 Figure 2.8 Outline of Jery, "Es rauschen die Wasser" (No. 65 Figure 2.9 Outline of Heinrich Stiehl, Bately/Jery "Es rauschet das Wasser" (1868). Friedrich Bodenstedt, Neumuhler, to Hans von Bronsart, 8 August 1873. Figure 3.3 Friedrich Bodenstedt, Meiningen, to Hans von Bronsart, 6 February 1874. Figure 3.4 Ingeborg von Bronsart, Hanover, to L a Mara [pseud. 138 Figure 3.8 Outline of Hilda's aria, Act I, scene 6, mm. 148 Figure 3.9 Outline of Hiarne's aria, Act I, Scene 6, mm. 153 Figure 3.10 Outline of duet (Hilda and Hiarne), Act I, scene 6, mm. 159 Figure 3.11 Comparison of Duet II (Act II, scene 7) and Duet I (Act I, scene 6).